[Rendow Yee Architectural Drawing Pdf Free 23
Christel Malden
The classic architectural drawing compendium now in a richly updated editionToday's most comprehensive compendium of architectural drawing types and methods, both hand drawn and computer generated, Architectural Drawing: A Visual Compendium of Types and Methods remains a one-of-a-kind visual reference and an outstanding source of guidance and inspiration for students and professionals at every level. This Fourth Edition has been thoroughly updated to reflect the growing influence of digital drawing. Features include:
- More than 1,500 drawings and photographs that demonstrate the various principles, methods, and types of architectural drawing
- Examples by an impressive array of notable architects and firms, including Tadao Ando, Asymptote, Santiago Calatrava, Coop Himmelb(l)au, Norman Foster, Frank Gehry, Zaha Hadid, Steven Holl, Arata Isozaki, Toyo Ito, Gudmundur Jonsson, Kohn Pedersen Fox, Ricardo Legorreta, Morphosis, Patkau Architects, Pei Partnership Architects LLP, Renzo Piano, Antoine Predock, SANAA, David Serero, Studio Daniel Libeskind, Studio Gang, Bing Thom, Tod Williams and Billie Tsien, and UN Studio
- A brand new chapter, "Introduction to the Digital-Manual Interface" which covers how digital and traditional drawing techniques can be used in conjunction with each other
- A new chapter on guidelines for portfolio building
- Content organized in a streamlined, easy-to-use fashion
- Supplementary online instructor resources, including PowerPoint slides tied to the book
LaRaine Papa Montgomery, Professor of Architecture/Graphics Coordinator, Savannah College of Art and Design"This book contains a wealth of information on architectural graphic communication. My students have found this to be an invaluable resource for graphic presentation techniques ranging from traditional hand drawing to advanced computer graphics. It features an amazingly wide range of examples including both student work and professional work by renowned architects. With the addition of a new chapter on portfolio design, this new edition illustrates the full gamut of graphic communication skills from the conceptual sketch through the documentation of the final portfolio."
Mark A. Pearson, AIA, LEED AP, Associate Professor of Architecture, College of DuPage"This book should be in the library of all architecture and design students as well as practicing professionals. The richness and variety of hand-drawn and digital illustrations by students and architects offers deep insight into the many drawing types and methods used today. The section on portfolios is a helpful and timely addition."
Professor Michael Hagge, Chair, Department of Architecture, The University of Memphis
Today's most comprehensive compendium of architectural drawing types and methods, both hand drawn and computer generated, Architectural Drawing: A Visual Compendium of Types and Methods remains a one-of-a-kind visual reference and an outstanding source of guidance and inspiration for students and professionals at every level.
"This volume reveals how architects approach drawing as a process wherein ideas are given form. As a tool for teaching, these examples become important in students' understanding of the formal and technical aspects of design thought. In an age of digital technologies, this work emphasizes the intimate relationship that exists between the drawing and its maker, the process between paper, hand, and mind." --LaRaine Papa Montgomery, Professor of Architecture/Graphics Coordinator, Savannah College of Art and Design
"This book contains a wealth of information on architectural graphic communication. My students have found this to be an invaluable resource for graphic presentation techniques ranging from traditional hand drawing to advanced computer graphics. It features an amazingly wide range of examples including both student work and professional work by renowned architects. With the addition of a new chapter on portfolio design, this new edition illustrates the full gamut of graphic communication skills from the conceptual sketch through the documentation of the final portfolio." --Mark A. Pearson, AIA, LEED AP, Associate Professor of Architecture, College of DuPage
"This book should be in the library of all architecture and design students as well as practicing professionals. The richness and variety of hand-drawn and digital illustrations by students and architects offers deep insight into the many drawing types and methods used today. The section on portfolios is a helpful and timely addition." --Professor Michael Hagge, Chair, Department of Architecture, The University of Memphis
Limit of Liability/Disclaimer of Warranty: While the publisher and the author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor the author shall be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages.
Wiley publishes in a variety of print and electronic formats and by print-on-demand. Some material included with standard print versions of this book may not be included in e-books or in print-on-demand. If this book refers to media such as a CD or DVD that is not included in the version you purchased, you may download this material at For more information about Wiley products, visit www.wiley.com.
The third edition introduces hierarchy to make the book easier to use and its information more accessible. The hierarchical table of contents, for example, allows readers to reference the most salient topics quickly. Structural hierarchy within each chapter is based on two stages: BASICS and BASICS APPLIED. BASICS incorporates fundamental elements such as theory, definitions, principles, and concepts. BASICS APPLIED provides step-by-step how-to applications, along with student and professional examples.
I would especially like to thank Professor William Chan of Morgan State University, who was so gracious in donating his time to review most of the chapters as well as the companion website in the second edition. I also appreciate the comments on specific pages by Professors Dick Davison of Texas A&M and Arpad Daniel Ronaszegi of the Savannah College of Art and Design. Finally, I would like to acknowledge the assistance of Tina Chau, Chalina Chen, and Susan Wu.
There are two important new features in the second edition. The first feature is the addition of a drawing and drafting exercises section at the end of the book. This will allow professors of architectural graphics and design communications to glean ideas for formulating fundamental drawing/drafting exercises to suit their own classes.
The second feature is a supplementary website chapter, Conventional and Computerized Representation in Color, which can be found at www.wiley.com/go/yee. This overview chapter covers traditional color media such as watercolor, gouache, pastels, colored pencil, markers, airbrush, and mixed media. Various aspects of the potential of digital media are also discussed. In addition, typical student and professional solutions for the many drawing exercises in the textbook are shown on the website. These solutions are available to course instructors upon request at www.wiley.com/go/yee or by contacting your local Wiley college representative for details.
Finally, the topics of diagramming and conceptual sketching have been condensed into a single chapter with more explanatory text, and the chapter on presentation formats has been expanded to include professional competition drawings from notable offices.
I am very grateful for three insightful critiques of the first edition. All chapters were reviewed by Professors Dick Davison and Stephen Temple; and Professor Owen Cappleman reviewed the chapter on diagramming and conceptual sketching, as well as the website chapter. I would also like to express my gratitude to all of the office professionals who contributed work in a very timely manner. In addition, I am deeply indebted to the strong support team from educational institutions that supplied me with exceptional examples of drawing exercises. A warm thanks to the following architecture schools and professors who contributed projects:
A special thanks to the following people who assisted me: Justin Ip, Brian W. Quan, Felix Ma, Lawrence Mak, Corvin Matei, and Hedy Hing Yee. I am very grateful for my superb editorial production team at John Wiley and Sons. Especially notable is the hard work and help I got from my editor, Margaret Cummins. She was always there to answer any questions I had. I also appreciate the coordination work of her editorial assistants, Kim Aleski and Rosanne Koneval. Finally, I would like to commend the fine work of the managing editor, David Sassian, and the copy editor, Lisa Story.
People learn to communicate through language at an early age. They learn to speak, read, and write. The primary type of communication in any kind of design work, whether fashion or building, is drawing. To communicate our design ideas to others, we must learn how to draw. We must draw with enough facility to make our ideas clear. Furthermore, we need to be able to communicate graphic ideas to ourselves because as we work on any design our ideas are constantly changing and evolving.
795a8134c1